I figured it was time to make a sister thread to the long-running New York repertory cinema discussion, as the greater Los Angeles area has had an explosion of revival screenings at various nonprofits like the American Cinematheque and Cinefamily, museums (including, hopefully soon, the Academy of Motion Pictures Arts and Sciences') and the hopefully eternal New Beverly.

But beyond L.A., there are lots of great screenings in the Bay Area (the Pacific Film Archive and Castro Theatre), Portland and Vancouver, and this is the place to share heads-up on those as well.

In April, the American Cinematheque is honoring Walter Hill with an in-person retrospective, which includes a screening of Geronimo in 70mm. Fans of Hill can also see Hickey and Boggs at the New Beverly. Later in the month, the Aero is hosting a Bill Paxton tribute which includes A Simple Plan, Tombstone and One False Move.

The Cinefamily is having an encore screening of Bo Widerberg's Adalen 31 and Bruno Dumont is coming for two nights at the end of April.

The UCLA Film and Television Archive's series on refugees includes El Norte, Ann Hui's Boat People and La Promesse

Figured I should chime into this thread and hopefully keep it alive. At this point in my life, four out of five films I see in the theater and have a personal connection to many of the cinematheques in Los Angeles.

There's a few things worth sharing that beamish13 missed. Cinefamily started there Rock 'n Roll Fascism series with Pink Floyd's The Wall last week and are continuing along with Wild in the Streets and Privilege. It was fun seeing The Wall as a midnight as they properly blasted the film, insuring that I wouldn't fall asleep after working a 50+ hour week. Also, the very fun Messiah of Evil is programmed for sometime next month. Though their programming seems to be over-stuffed with runs of popular arthouse fare, there's still gems like these that pop-up.

UCLA Film and Television Archive continues their programming that exists only for the most hardcore of cinema goer by not only being in a part of town where traffic is a blackhole and parking can often be $20 before 6pm, but by having very particular and rare programming. This month is a series of Japanese silent films (all from archival prints) paired with American films they are influenced by, including a rare screenings of Ozu's Days of Youth and von Sternberg's Docks of New York. Opening night is a film I haven't seen, Orochi, with a real life benshi performing over the film with a small ensemble of Japanese instruments. Tomorrow is a program of rare Vitaphone shorts I sadly have to miss. I'll also throw in here that two of the best films I saw this year were courtesy of UCLA: two films by an independent filmmaker I had never heard of before, Juleen Compton. The films were Stranded and The Ballad of Norma Jean, the first being an excellent personal film that would've felt more at home in the late-90s indie scene and the latter being something of a dreamlike masterpiece with a gorgeous Michel Legrand soundtrack. They also arguably have the best 35mm projection and prints in town.

Because The New Beverly is 100% subsidized by Quentin Tarantino, films no one has seen or heard of are programmed fairly often and box office numbers don't matter much to them. More than any other cinematheque in town, I've made many new discoveries here in the last two years including recently seeing a chunk of Frank Perry's films including a rare print of his made-for-TV movie Dummy, the relentless sleaze-o thriller Vice Squad, Ivan Passar's first American film Law and Disorder (a new personal favorite), Michael Cimino's Year of the Dragon, William Friedkin's Bug, and Richard Lester's Royal Flash. It's always nice to be guaranteed two 35mm prints for only $8 with some of the cheapest concessions in town. Highlights this month include Ringo Lam's balls-to-the-wall City on Fire which screens Tuesday and a 80s Demme comedy double of Married to the Mob and Something Wild next Wednesday and Thursday. Also, El Coyote is across the street for a pre-movie margarita.

I want to like the American Cinematheque, but their programming is often unadventurous. Plus it doesn't help that both of their theaters are located in places where parking is nearly impossible. Hollywood Blvd., where the Egyptian is located, is a tourist trap and a war zone on weekends with puking and stumbling adults stepping out of bars and clubs, cops on every corner waiting to pull you over for any reason, and smoke shop after smoke shop. On the plus side, Musso and Frank's is across the street and serves the best Manhattan in Los Angeles. Alternatively, the Aero is located in the richest part of town where parking is non-existent for you unless you have a city permit. It was by the Aero where I saw a city parking sign that said "36 minute parking". What other fucking city but Santa Monica would pull shit like that? But it's worth it for the 70mm screenings they'll do every few months or last December when 35mm prints of Uncle Boonmee and Syndromes and a Century screened with Weerastakul in person. But they rarely play prints anymore and always go for DCPs. I was told once that they believe any type of print damage or dirt hinders the experience and isolates modern audiences.

For anyone who's curious, a friend and I have been compiling a list of all repertory screenings in the LA area for the past couple of months. It's a hefty undertaking so some stuff definitely slips through the cracks but it should have most of the major bases covered and a few off-the-beaten-path theaters as well. If anyone wants to be added to the mailing list to find out when it gets released each month, PM me!

Film on Film is a pretty useful website for LA/Bay Area screenings as well.

I miss when LACMA had more film screenings but I guess that's gonna be the Academy Museum's role in the future.

Just a quick note about parking for the Egyptian: Hollywood Blvd is a nightmare but at least it's really close to the Hollywood/Highland red line stop. I almost always park at the station closest to me and then take the metro.

The aero and Egyptian don't play prints because projectionists are a dying breed, literally. And because few places will rent prints anymore and those that do have fairly meticulous standards, one volunteer projectionist (who has forgotten most of what he remembered from his high school job) breaking a print is enough to get you on the academy's shit list and then, No more prints for you from that source.

Also audiences do prefer DCPs, most audiences are okay with film prints but especially foreign prints these days, I'd almost always rather see a DCP, 15 years ago, I saw most of the canon on 35mm at the aero and Egyptian and unless it was a new print, 1/3 of the subtitles were guaranteed unreadable.

A resource I've used for years is film radar which sends out a weekly newsletter of basically everything screening in Los Angeles.

Also, the academy used to have he absolute best screening serieses in town bar none, until fucking michael govan took over LACMA deliberately destroyed their film programming department and then "partnered " with the academy which meant they basically ended all of their public screenings program at their theatre and did one tenth of their previous total of public screenings at lacma instead.

There are also the Echo Park Film Center and REDCAT. And Veggie Cloud. And some galleries run things.
USC also runs things actually, but parking at USC is a pain.
The Downtown Independent runs primarily contemporary independent films.
No end of film festival year around, usually small and specialized.

The Filmforum email list (which I do) not only sends out notices of our shows, but once or twice a month I compile other screenings that I think will be of interest of other cinema experimental & alternative screenings.
Film Radar is probably the easiest way to round up all the screenings. And the LA Weekly print edition listings.

The problem with the New Beverly today is that under Tarantino's stewardship, quality control is no longer
in place, and they frequently screen horrendous, color-depleted prints from his collection that should never be shown. I often won't go unless they expressly note that a studio archive, I.B. Technicolor or fresh from the lab print is being screened.

It really is a shame about LACMA. They had a great Japanese new wave series and they hosted the massive Oshima Nagisa series that toured a few years ago. Plus, they're 70mm capable. UCLA can run 70mm as well, although they very seldom do so; they did show Richard Brooks' Lord Jim in that format a while back.

beamish13 wrote:The problem with the New Beverly today is that under Tarantino's stewardship, quality control is no longer
in place, and they frequently screen horrendous, color-depleted prints from his collection that should never be shown. I often won't go unless they expressly note that a studio archive, I.B. Technicolor or fresh from the lab print is being screened.

It really is a shame about LACMA. They had a great Japanese new wave series and they hosted the massive Oshima Nagisa series that toured a few years ago. Plus, they're 70mm capable. UCLA can run 70mm as well, although they very seldom do so; they did show Richard Brooks' Lord Jim in that format a while back.

The Tarantino print problem is far less frequent than you believe. You see it more with rare genre films or rare oddities. Seems most of the prints are loaned or rented lately. As of the last month, I've seen Blond Venus, Only Angels Have Wings, Kuroneko, Diary of a Mad Housewife, and a Czech double feature (plus plenty more) with excellent prints. Their calendar or website often makes no reference to the print source either. IB Tech or archival doesn't always denote quality either. When I saw Hollywood or Bust there five years ago, the colors were gorgeous, but the print was beaten pretty badly. Recently they ran the only existing print of Last Summer from an Australian archive, and it was a faded, chopped-up, (maybe) partially censored version of the film made from multiple sources and converted to 16mm.

And it's a real shame about LACMA. I went to that Oshima series (the less avant-garde ones played at the Egyptian to an audience of mostly ten people, myself included) and would regularly go when they had double-features on Fridays and Saturdays. The Cinematheque still runs 70mm every few months and has an exclusive license to be the only venue allowed to screen 2001: A Space Odyssey on 70mm for the next five years or so. They recently ran Inherent Vice, The Master and The Hateful Eight on 70mm.

I love the Bing Theater at LACMA and get sad at the idea of it being torn down. But walking around it, you get the feeling they don't care much about it. The same video installation piece has been there for years, the office upstairs seem dirty and a lot of the building could use a nice polish. I've gone to the Tuesday matinees the last three weeks (von Sternberg/Dietrich films with beautiful prints) to small crowds of old folks and walk-in tourists, and it seriously made me re-evaluate the theater I used to take for granted. Now that it's essentially only open for the matinees, I can see how gorgeous the theater is with the seating arrangement, the ornate red curtain covering the screen and the wood paneling inside that makes me nostalgic for my youth. I'm not really looking forward to the thousand seat theater that's replacing it at the Academy Museum.

I was also going to initially post about the LA Film Forum, but saw there was only one screening coming instead of a notice for a full series. I certainly didn't forget it!

Also worth noting is Locarno in Los Angeles is this weekend. Unfortunately, the ones I want to see the most (The Human Surge and The Challenge) are playing on a day where I'll be working all day.

Yeah the destruction michael govan has wrought on lacmas film program is really disheartening, the bing is a great theatre and used to have great programming. But govan passionately hates commercial film and thinks anything that is not a museum specific/exclusive film installation has no place in a museum.

At least his backward looking (and scornful of LA) architectural ode to smog and sprawl that zumthor designed for him has officially been tossed in the garbage. I love that zumthor and govans blobby "I hate Los Angeles!" lacma design has failed and been discarded.

Now govan is promoting a similar zumthor design that is an Incan fortress for the elites, a museum designed to keep folks out, designed to not display art and designed to alienate the local community with its brooding hulk. This one might succeed, though, which is a shame.

The American cinematheque has an archival restoration series starting this weekend: the 1939 Hungarian film two girls on the street plays Saturday night (double feature with pitfall, also by de toth), and German expressionism on Sunday with a double feature of the 1920 sci-fi film Algol and cabinet of dr caligari

That's because FIAF (the organization of film preservationists) is having its annual meeting in LA this weekend, and the AmCin was clever and arranged a few shows with Stefan Droessler of the Munich Film Museum, who will be at a few screenings through next Thursday, and someone else (drawing a blank).
There' s a mad number of screenings this week. I won't do this again, but here's an email I sent to the Filmforum email list today:

Hi all,

As usual, this week feels to me like the most overloaded of the year. Definitely get out to some of the great screenings this weekend, but you won’t be able to see them all. Friday is really impossible. Add to all this the various student shows. Filmforum is having two great shows, one this Sunday with four indigenous filmmakers; another next Sunday, co-presenting Jennifer West at REDCAT. We are also co-presenting a show of experimental shorts by women at Cinefamily on Friday May 5th. SEEFEST is all this week. And FIAF is having a conference in LA. That’s the international society of film archivists. The American Cinematheque has gotten on board with several screenings of preserved films over the week, some with Stefan Droessler of the Munich Film Museum in person. Roberts Tilton is also starting a set of very interesting installed films.
And it’s also Big Jay McNeely’s 90th Birthday on Saturday! He’s playing at Big Mama’s BBQ in Pasadena that night.

— South East European Film Festival (SEEDIEST), April 27 – May 4, 2017

SEEfest17 Documentary Program: Home Sweet Home
April 28 @ 7:00 pm - 8:30 pm
Goethe-Institut, 5750 Wilshire Boulevard Suite 100
Los Angeles, CA 90036 United States + Google Map
North American Premiere Director/Producer: Maja Prettner Duration: 93 minutes Genre: Documentary Country: Slovenia Q&A with director Maja Prettner after the screening. Profiling a youth home in Slovenia, this observational documentary gives the children an opportunity to tell their stories, and the results are an engrossing and enriching account of their joys and struggles.

SEEfest17 Shorts Program 4: Resistance
April 28 @ 8:30 pm - 10:00 pm
Goethe-Institut, 5750 Wilshire Boulevard Suite 100
Los Angeles, CA 90036 United States + Google Map
North American Premiere
Director: Vanya Jekova Producer: Vita Start Duration: 30 minutes Genre: Drama Country: Bulgaria
An exploration of the hardships that a family goes through in communist Bulgaria. A story about cruelty and love, the footprints they leave, and about the choices we make. Vanya Zhekova is an essayist, screenwriter and producer who has recently explored Bulgarian communist history.

In our 8th year, Autarky! is a celebration of animation created by student film makes at CalArts within the last year. The work featured will include films from both the character and experimental animation programs exploring a variety of animation approaches – stop-motion, 3D computer animation, 2D computer animation, visual music, etc.
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ABD 4/20 Party: Fantastic Animation Festival (1977)
Thursday April 27, 10:30 pm
at Cinefamilyhttp://www.cinefamily.org/films/animati ... tival-1977" onclick="window.open(this.href);return false;
$12/free for members

Grab yer stash and make a dash to ABD’s 4/20 celebration! We’ll admit it: “Stoner Appeal” is a box we endeavor to check when programming Animation Breakdown. Like Doritos, Dark Side of the Moon or Disneyland, animation is one of those things that just reaches a whole ‘nother level under the influ – uh, under the right conditions. Every animated film is an immersive world conjured from the void, solely begotten of its creators’ imaginations. Animation’s uncanny power to transport and transfix intrepid trippers is exactly what the producers of 1977’s Fantastic Animation Festival had in mind. This feature-length anthology of far-out films from around the globe toured cities and college towns, turning audiences on to incredible independent animation before Spike Mike or Liquid Television came along. Impeccably curated with clear consideration for the “smokey set”, selections include the cult classic Bambi Meets Godzilla; a Yellow Sub-esque take on Cat Stevens’ “Moonshadow”; future Tron director Steve Lisberger’s psychedelic student film; Jordan Belson’s breathtaking Light; two early shorts by Claymation maestro Will Vinton (including the Oscar-winning Closed Mondays); an unofficial Pink Floyd music video so mindblowing that the band hired its creator – and many more! A remarkable time-capsule from our favorite era, Fantastic Animation Festival planted the stoner seeds for everything ABD aspires to be. Turn on, toon in, and drop out with us for an incredibly rare screening on 35mm!
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Oxy Cinematheque: Screening Los Angeles presents "City of Gold"
Thursday April 27, 7:00 pm
at Occidental College, Choi Auditoriumhttp://www.oxy.edu/events/oxy-cinemathe ... -city-gold" onclick="window.open(this.href);return false;

In this richly penetrating documentary odyssey, Pulitzer Prize-winning food critic Jonathan Gold shows us a Los Angeles where ethnic cooking is a kaleidoscopic portal to the mysteries of an unwieldy city and the soul of America.

Directions:

A printable campus map is accessible at http://www.oxy.edu/maps-directions" onclick="window.open(this.href);return false;.
his free event will be held in Occidental's Choi Auditorium, located in Johnson/McKinnon Hall at the center of campus (#2 on the map). The map also indicates a number of different general parking options on campus.
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Los Angeles launch of Issue 10 of The Third Rail
Friday April 28th, 8-11pm
at Night Gallery, 2276 E 16th Street Los Angeles CA 90021http://nightgallery.ca/events.php?type=events" onclick="window.open(this.href);return false;

Programmed by Veggie Cloud with KJ Relth!
The second installment of our four part series, Subject: Los Angeles in the Streets is an evening of films and performances that will examine varying forms of public assembly and artistic intervention in a city so often associated with private lives and drive-thru culture. With an eye toward the history of political demonstrations, parades, and roadside art, this event will look at Los Angeles as both a backdrop and breeding ground for impassioned and irreverent activism, as well as creative spectacles that go far beyond the tourist trade. Featuring shorts from LA Rebellion filmmakers, footage of Brown Beret organizing, archival documentation of the first-ever march for gay rights down Hollywood Boulevard and Suzanne Lacy's grounbreaking public artwork on rape, Three Weeks In May, plus much more. Also protest songs sung by folksinger Emily Lacy, and of course, puppets!
TICKETS: http://www.bobbakermarionettetheater.co ... -323878281" onclick="window.open(this.href);return false;
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SPECTRAL ASCENSION: Super 8 and 16mm Films by Paul Clipson
Friday, April 28, 8 pm
at the Echo Park Film Centerhttp://www.echoparkfilmcenter.org/event ... l-clipson/" onclick="window.open(this.href);return false;

This retrospective surveys Clipson’s works on reversal Super 8mm and 16mm negative, covering films made between 2007 and 2017. Each of these films, with their approach to studying light, texture, color, focus, in-camera editing and superimposition, also chart a distinct journey in collaboration and interactions with a universe of sound artists and musicians, including Jefre Cantu-Ledesma, Grouper, Gregg Kowalsky, Sarah Davachi, Lawrence English and many others.

The evening’s program will include OTHER STATES (2013), BRIGHT MIRROR(2013), LIGHTHOUSE (2015),and MADE OF AIR (2014), and will feature a premiere on 16mm of SPECTRAL ASCENSION (2017) with a soundtrack by Byron Westbrook. The filmmaker will be present to project the films and participate in a Q&A after the screening. Films will be screened in their original formats.

Paul Clipson is a San Francisco-based filmmaker who often collaborates with sound artists and musicians on films, live performances, and installations. His Super 8 and 16mm films aim to bring to light visual preoccupations that reveal themselves while working in a stream of consciousness manner, combining densely layered, in-camera edited studies of figurative and abstract environments, in a process that encourages unplanned-for results, responding to and conversing with the temporal qualities of musical composition and live performance. His work has screened around the world in festivals and at sound and film events such as the International Film Festival Rotterdam, The New York Film Festival, and the Cinémathèque Française. In March and April he will be touring Europe with Jeremy Young and Shinya Sugimoto for sound/film performances in London, Manchester, Paris, Brussels, Amsterdam, Copenhagen and other cities. http://www.withinmirrors.org/" onclick="window.open(this.href);return false;
FILMMAKER IN ATTENDANCE!

This screening is made possible thanks to a grant from the Andy Warhol Foundation for the Visual Arts.
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Sympathy for the Devil, by Godard
Friday, April 28th, 7:30pm
at Cinefamilyhttp://www.cinefamily.org/films/fight-t ... -the-devil" onclick="window.open(this.href);return false;

In 1968, Godard took a respite from his "narrative" filmmaking to document the Rolling Stones' London recording sessions for one of the greatest rock songs of the era - replete with all of the frustrations and ecstasies of realizing a masterpiece. Godard found a nexus between his visual style and his subject matter: Sympathy captures the cavernous grandeur of British recording studios' live rooms in the 60's, with Olympic Studios' multi-colored soundproof baffles, tape operators, and elegant microphone stands serving as a playground of frame-bisecting angles and shapes. This is late 60's Godard, so we are of course treated to a dollop of Marxist polemics and virtuosic long-takes - the best of which features a group of Black Panthers tossing rifles amongst themselves in a junkyard whilst reading revolutionary texts by Amiri Baraka.

The program features a diverse range of contemporary 8mm films by Japanese artists. Although it has been several years since Fuji Film ended the production of Single 8, which was a preferred format among filmmakers in Japan but not for the rest of the world, some filmmakers in Japan are still working with this format – they purchased many cartridges when available and stored them for the future. The program begins with Wriggle, an abstract animation with layers of paints on a 2-dimensional surface by Haruka Mitani, followed by Naoaki Miyamoto’s Tide, which expresses nostalgia through a journey or the flow of a river. Ryo Ishikawa’s On the Shore is made of dream-like sequences with visual effects that address the materiality of the medium, and A Dream of Smoke displays Madoka Kobata’s delicate camerawork with the images of a quiet village and others indoor. Kayako Oki’s Spinning Light conveys further the materiality of the format with a feeling of girlish childhood memories, and Water-soluble Doze by Masaharu Oki depicts the beauty and formality in autumn leaves and others found on the ground. Akio Hikage’s Tanning the film focuses on a repetitive process that seems eternal, and Ryo Ishikawa’s found footage film, Drift, also uses an idea of repetition to build the film structure. Vanitas by Yuriko Sato expresses a sense of being confined to a space or one’s mind, and Sayaka Hayami’s In These Days illustrates everyday scenes at night in her neighborhood. Fire Balls by Shintaro Kiyonari exhibits views from a train, looking toward the sun, along with shots of a baby crawling, while Junhou Arai’s For Life: Plum, Bamboo, and Pine shows physical characteristics of the elderly in a very formal way.

New York-based curator and artist Tomonari Nishikawa will be present to introduce the program, and participating filmmakers Ryo Ishikawa and Sayaka Hayami will be here from Japan to talk about his films as well. Don’t miss this incredibly rare screening to see recent work in small gauge film from Japan projected from its original 8mm format. CURATOR TOMONARI NISHIKAWA AND FILMMAKERS RYO ISHIKAWA SAYAKA HAYAMI IN ATTENDANCE!

Ryo Ishikawa is a filmmaker based in Tokyo, Japan. He is a co-founder of !8 (Exclamation 8), which is a collective of filmmakers organizing screenings of 8mm films at various venues in Japan. He also has been organizing filmmaking workshops in Tokyo and other cities. He currently works at National Film Center (National Museum of Modern Art, Tokyo) in Kanagawa, Japan, inspecting films, especially small formats.

Sayaka Hayami started filmmaking in 2015, and she has completed several 8mm films on a theme of the relationship between oil painting and film medium. She currently works at National Film Center, while pursuing an MFA in Painting at Kanazawa College of Art.

Tomonari Nishikawa is a filmmaker/film curator based in Aichi/Tokyo, Japan, and Binghamton, NY. He co-founded KLEX: Kuala Lumpur Experimental Film Video Festival and Transient Visions: Festival of the Moving Image. Last year, he established a new screening event, EXPOSURE, at Kopernik Observatory Science Center. He currently teaches in Cinema Department at Binghamton University.

One of writer-director André De Toth’s first features is this prewar Hungarian delight starring Bella Bordy and Mária Tasnádi Fekete as the titular young women. Upper-class Gyöngyi and impoverished Vica are both on the outs with their families and head to Budapest, where they meet and move in together as they try to turn their lives around.

35 mm!

PITFALL
1948, 86 min, USA, Dir: André de Toth

Insurance agent Dick Powell, facing a midlife crisis, falls for hard-luck model Lizabeth Scott - but brutish private eye Raymond Burr already has designs on her. The men wage war for her charms … and she already has her hands full with a convict lover about to be sprung from jail. Who'll survive this guilt-sodden affair? A downbeat, compelling classic.
Trailer

TWO GIRLS ON THE STREET in Hungarian with English subtitles. DCP restored in 2010 by Cineteca di Bologna/L'Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project and Magyar Nemzeti Filmarchívum. Restoration funded by Armani, Cartier, Qatar Airways and Qatar Museum Authority.
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Sunday April 30, 2017, 7:30 pm
Los Angeles Filmforum presents
INAATE/SE/ by Adam Khalil and Zack Khalil
At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028

Related Program:
On April 28th, from 8-11pm, Night Gallery will host the Los Angeles launch of Issue 10 of The Third Rail, featuring Adam and Zack Khalil’s interview with filmmaker Sky Hopinka. There will be live music by Olga and Beat Detectives, video by Mati Diop Manon Lutanie, Alexander Kluge, and Adam Zack Khalil. http://www.nightgallery.ca" onclick="window.open(this.href);return false;

The ethnographic film tradition was part of the colonialist tradition. Now (and for some time), new filmmakers, often from groups seen as the subjects being documented or collected in traditional films, are expressing their own voices and traditions in what some are calling “anti-ethnographic” films. Filmforum is delighted to host three indigenous films leading this work, along with guest Maya Solis from the Sundance Institute for a post-screening discussion.

Adam and Zack Khalil’s new film re-imagines an ancient Ojibway story, the Seven Fires Prophecy, which both predates and predicts first contact with Europeans. A kaleidoscopic experience blending documentary, narrative, and experimental forms, INAATE/SE/ transcends linear colonized history to explore how the prophecy resonates through the generations in their indigenous community within Michigan’s Upper Peninsula. With acute geographic specificity, and grand historical scope, the film fixes its lens between the sacred and the profane to pry open the construction of contemporary indigenous identity. http://www.inaatese.com/trailer" onclick="window.open(this.href);return false; (69 mins)

INAATE/SE/ will be proceeded by Anishinabemowin Nagishkodaading by Eve-Lauryn Little Shell LaFountain as well as Sky Hopinka’s Jáaji Approx.

"Formally adventurous but never esoteric, INAATE/SE is an inimitable model for what radical documentary in the 21st century might be"-Screen Slate

Special thanks to Franny Alfano and Colin Beckett.
Tickets: $10 general admission; $6 students (with ID)/seniors; free for Filmforum members.
Tickets available at http://inaatese.bpt.me" onclick="window.open(this.href);return false; or at the door
For more event information: http://www.lafilmforum.org" onclick="window.open(this.href);return false;, or 323-377-7238
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The L.A. Uprising: 25 Years Later
May 2-4, 2017
at the Hammer Museumhttps://hammer.ucla.edu/programs-events ... e8f40b3eb5" onclick="window.open(this.href);return false;

This series examines the events and after-effects of the L.A. uprising on its 25th anniversary. Copresented with the UCLA Department of History and the UCLA Interdepartmental Program in Afro-American Studies.

Screening of Rodney King
Tuesday, May 2, 7:30 p.m.
Roger Guenveur Smith's Bessie Award-winning solo performance is inspired by the late Rodney King, whose videotaped beating by LAPD officers ignited the 1992 Los Angeles uprising. Twenty-five years after the uprising, Smith reunites with director Spike Lee for their ninth collaboration. Followed by a Q&A with Roger Guenveur Smith and Spike Lee. Moderated by UC Santa Barbara Professor Stephanie Batiste.
The screening and discussion is followed by a reception with the artists in the Hammer's courtyard, featuring the a live DJ set by the film's composer Marc Anthony Thompson (aka Chocolate Genius), and a cash bar.

"To Protect and to Serve": Strategies for Law Enforcement Reform 25 Years After Rodney King
Wednesday, May 3, 7:30 p.m.
Civil rights attorney Connie Rice, police officer Anwar Sanders, and UCLA law professors Devon Carbado and Beth Colgan discuss the efficacy of consent decrees and other police reform policies including bias training, body cameras, and community policing.

Screening of Do Not Resist
Thursday, May 4, 7:30 p.m.
Beginning on the streets of Ferguson, Missouri, as the community grapples with the death of Michael Brown, Do Not Resist offers a shocking look at the militarization of police forces in America. Followed by a discussion with Black Lives Matter cofounder Patrisse Cullors.

ORSON WELLES SOLO, 1972, 100 min. Dir. Orson Welles. Never shown in cinemas or on American TV, this presentation compiles readings of texts by Mark Twain, Carl Ewald, George Ade, Oscar Wilde and Orson Welles as well as speeches by Socrates and Clarence Darrow. Shot in the very early 1970s in and around Los Angeles.
ORSON WELLES SOLO presented by Stefan Dröessler of the Munich Film Museum
L.A. Premiere of DCP Restoration!

THE TRIAL
1962, Rialto Pictures, 118 min, USA, Dir: Orson Welles

Franz Kafka’s classic novel of paranoia and conspiracy seems tailor-made for director Orson Welles. This labyrinthine, deliciously satiric, nightmare vision of a man (Anthony Perkins) accused of an unspecified crime emerges as a subtle allegory of Welles’ own Catch-22 tribulations working in the film industry. With a dream cast that includes Jeanne Moreau, Romy Schneider, Akim Tamiroff and Welles himself.
Screening formats: digital (ORSON WELLES SOLO), DCP (THE TRIAL)

Part of ORSON WELLES: THE STUDIO YEARS AND BEYON
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Short Films curated for I Love Dick (with filmmaker Naomi Uman and curator Logan Kibens in person!)
Friday May 5, 7:30 pm
at Cinefamily, co-presented by Los Angeles Filmforumhttp://www.cinefamily.org/films/no-grea ... -in-person" onclick="window.open(this.href);return false;

$14/free for Cinefamily members/$10 for Los Angeles Filmforum members

Co-presented by Los Angeles Filmforum

Part of No Great Women Artists
Presented by Women of Cinefamily
I Love Dick pays its dues to pioneering and influential feminist and experimental filmmakers with reference to a number of works throughout the series. Join us for a second weekend in celebration of Jill Soloway and Sarah Gubbins’ Amazon original series (based on Chris Kraus’ book of the same name), featuring films curated for the show. Including work by Chantal Akerman, Sally Potter, Carolee Schneeman, Naomi Uman more.

Special thanks to Logan Kibens Alexis Everhart

Join us for a program of short films by Naomi Uman, Carolee Schneeman, Cauleen Smith more TBA – with curator Logan Kibens and filmmaker Naomi Uman in person.

“Orson Welles, Shylock and King Lear,” 100 min. All his life, Orson Welles was fascinated by Shakespeare and tried to bring his plays to a broad audience. This illustrated lecture by Stefan Dröessler of the Munich Film Museum shows different approaches in different media (book, stage, radio, phonograph records, film, TV, video) used by Welles to create “Everybody’s Shakespeare.” It focuses on the plays “The Merchant of Venice” and “King Lear,” which Welles tried to adapt throughout his career. Along with unknown clips, pictures and documents, the 2015 reconstruction of the legendary fragment THE MERCHANT OF VENICE will be shown.

Followed by:

“Orson Welles Rarities,” 100 min. Join us for additional restored films and reconstructed fragments from the Munich Film Museum’s Orson Welles collection. The trailer of the unfinished thriller THE DEEP was digitally restored from the work print recently found in the vaults of Richard L. Bare. Portions of the TV film LONDON have been improved after the discovery of the original script in the Oja Kodar papers held at the University of Michigan. The beautiful screen tests for THE DREAMERS are “the most effective and convincing” of the first Orson Welles restorations done in Munich (Jonathan Rosenbaum).

With live musical accompaniment by Cliff Retallick. Introduction by author Anthony Slide, who will sign his book She Could Be Chaplin!: The Comedic Brilliance of Alice Howell in the Spielberg lobby at 6:30 PM
120 minutes | Screening format: 8mm
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Privilege
Saturday May 6 10:30 pm
at Cinefamilyhttp://www.cinefamily.org/films/rock-n- ... #privilege" onclick="window.open(this.href);return false;

“A rock concert is in fact a rite involving the evocation and transmutation of energy. Rock stars may be compared to priests.” – William Burroughs

The first narrative feature from documentary director Peter Watkins (The War Game, Punishment Park), Privilege is a verité-style projection of the near-future 1970s, greatly influenced by direct cinema classic Lonely Boy. Starring Manfred Mann’s Paul Jones, the film projects a future where corporate commercialism, pop music, organized religion, and state-controlled nationalism come together to manipulate the minds of teeny-boppers. Featuring surreal TV commercials, a Franciscan Monk garage band, and a rock concert/political rally packed with kids chanting “we will conform,” Privilege is a surreal, chilling meeting of Triumph of the Will and Top of the Pops.

Jennifer West makes her REDCAT debut with sensual, partly abstract, partly imagistic works that delve into how fiction weaves itself into our memories–and how our viewing experience has changed with the digital revolution. Her program’s centerpiece is Film Title Poem (2016, 67 min.)–“a psychic montage of my inner history of film”–for which West re-shot more than 500 existing movie title cards on 35mm film and manipulated the print with etched patterns, scratches and punctures before transferring it to HD. Based in L.A., West has won wide international recognition for her exploration of materiality in film, showing her work at venues such as Tramway, PICA, Tate Modern, and the Carnegie Museum of Art.

Screening:
Film Title Poem
By Jennifer West (2016, 35mm optical print hand-etch and painted, transferred to high-definition, sound, 67:40)

Jennifer West presents the new work Film Title Poem (2016); an etched, hand-painted 35mm digitized film comprised of collaged words, images, patterns and glitches shot from over 500 movie title cards to a musical soundtrack. West describes the new film as “a psychic montage of my inner-history of film in alphabetical order”.
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Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
Monday May 8, 7:30 pm
at Cinefamilyhttp://www.cinefamily.org/films/no-grea ... ruxelles-2" onclick="window.open(this.href);return false;
$12/free for members

When Chantal Akerman presented Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles at the Cannes Film Festival in 1975, she was only 25 (she was 24 when she directed it). The film, which chronicles a few days in the life of Dielman: a single mother and widow, played by Delphine Seyrig, is now understood to be a behemoth in the history of feminist filmmaking. Brilliantly adopting the meditative long-takes of structuralist cinema found in the experimental, non-narrative works of directors such as Michael Snow, Akerman uses these techniques to examine the alienation of our housewife protagonist. In stunning wide shots and real time, we observe the repetitive choreographies of Jeanne’s life: peeling potatoes, sponging her body, turning tricks in the afternoon. But all that remains unvoiced cannot be outrun, and her perfectly executed daily routines start to falter. The timing falls off. A coil starts to glow.

Deliberate and frugal, but also symphonic, Jeanne Dielman was made by a young woman but with all the gravity of an examined life, and raised many of the questions that remain prescient about the female voice, concealed labor, and the nature of care.

Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation.

On the tail end of one revolution and the eve of the next, two feminist pirate radio stations (“Radio Ragazza” and “Phoenix Radio”) broadcast commentary on the failing socialist state from a future utopian/dystopian New York, where the dream of the left’s takeover has come and gone. Lizzie Borden’s stellar and ferociously beloved documentary-style sci-fi social drama, restored by Anthology Film Archives, envisions an imagined future that upon contemporary viewing looks almost—but not quite—like the past, eerily affecting even beyond its time-capsule appeal. Circling around issues of race, gender, and class that apparently never get old, Born In Flames is revolutionary beyond its political narrative. Shot on a shoestring over a period of five years, using non-actors and little in the way of an advance script, it feels like a feat, carried to completion by the sheer force of ideas and passion.

Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. This screening will include Picaresques, Encounters I May or May Not Have Had with Peter Berlin, Signal, Untitled (Eclipse), Full Burn, Other Father, and Garbage, The City, and Death. She holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. She has received awards from the Rema Hort Mann Foundation (2015), Sarah Jacobson Film Grant (2015), California Community Fund (2014) and Artadia Los Angeles (2016). She has had solo exhibitions at the Metropolitan Arts Center (Belfast, UK), ltd los angeles (Los Angeles), and Louis B James (New York), and her work has shown at SF MoMA, REDCAT, White Columns, Ann Arbor Film Festival and in the 2014 Made in LA Hammer Biennial. Her work has been written about in Bomb Magazine, Artforum online and in print, The LA Times, Hyperallergic, East of Borneo, Girls Like Us, and Art News. She lives and works in Los Angeles. (still from Other Father)

This screening is made possible thanks to a grant from the Andy Warhol Foundation for the Visual Arts.

For this third installment of the Projections series at Roberts Tilton, I've compiled a small collection of hard-to-see films which reflect the growing re-definition of our concept of country. Projections Part III: Post-America presents cinematic works that expose unique visions of the American underbelly. Since the dawn of the medium, film has played a central role in both the education and dis-information in our society. Considering the current socio-political landscape of the United States, a conversation around these subjects is not only timely, but also important to present in the gallery context. -- Aaron Rose

66 Scenes from America (1982)
Director: Jørgen Leth
Running time: 39 minutes
Screening continuously April 29 - May 5, 2017
As a visual narrative, 66 Scenes From America is reminiscent of a pile of postcards from a journey, which indeed is what the film is. It consists of a series of lengthy shots of a tableau nature, each appearing to be a more or less random cross section of American reality, but which in total invoke a highly emblematic picture of the USA. The film presents a number of interlaced chains of motifs, varying from pictures of landscapes, highways and advertising hoardings, buildings seen from without, mostly with a fluttering Stars and Stripes somewhere in the shot, objects such as coins on a counter, refrigerator with a number of typical food products, a plate of food at a diner or a bottle of Wild Turkey, and finally, people who introduce themselves and their lives in rough-hewn form facing the camera: for example, the New York cabbie or the celebrities Kim Larsen and Andy Warhol.

Surf Punks (1981)
Director: Franz Bromet
Running time: 45 minutes
Screening continuously May 6 - 12, 2017
This Dutch TV documentary captures all the suburban teen angst amongst Southern California punk rock fans of the early '80s who'd wear Nazi swastikas on t-shirts, stage dive, get bloody in mosh pits, do drugs, and run away from home just to combat the boredom in their lives. In between the interviews there is some well-shot performance footage of groups like Unit3 with Venus (a band/family with a 9-year-old lead singer), a very early version of Suicidal Tendencies, 45 Grave, China White, The Germs, and, voice of reason, Phranc, the Jewish lesbian folksinger. Also, Casey Cola shares her experiences with Darby Crash and she and others talk about the impact his death had on the scene. In total, and possibly because the documentary was produced by Europeans, Surf Punks offers what seems like an aliens view of this particular form of American dissent.

Ma (2016)
Director: Celia Rowlson-Hall
Running time: 80 minutes
Screening continuously May 13 - 19, 2017
Celia Rowlson-Hall is a dancer/choreographer/director whose feature film Ma doesn't fit into a neat category. You could describe it as a meditation on the story of the Annunciation, told through dance and movement, although "meditation" isn't quite right either. In this modern-day vision of Mother Mary's pilgrimage, a woman crosses the scorched landscape of the American Southwest. Reinvented and told entirely through movement, the film playfully deconstructs the role of this woman, who encounters a world full of bold characters that are alternately terrifying and sublime. Ma is a journey into the visceral and the surreal, interweaving ritual, performance, and the body as sculpture. The absence of dialogue stirs the senses, and leads us to imagine a new ending to this familiar journey. The virgin mother gives birth to our savior, but is also challenged to save herself.

Seventeen (1983)
Directors: Joel DeMott and Jeff Kreins
Running time: 120 minutes
Screening continuously May 20 - 27, 2017
Jeff Kreines's and Joel DeMott's legendary and obscure 1983 documentary set in Muncie, Indiana, which was suppressed from PBS by outraged corporate sponsor Xerox. Seventeen follows protagonist Lynn as she traipses through her senior year of high school. Presented here, high school is simply a fulcrum, a familiar catch-all for the sass, rage, and fatuity that happens to occur in Muncie during the spring of 1980, regardless of age. Like its filmed subjects, Seventeen contains no pretense or modesty. None at all. It meanders. There's little balance and even less clear-cut movement. For those very reasons, the film mines an uncomfortably pure reality at a level which is rarely, if ever, glimpsed with our own eyes. Imagine the stupefying Heavy Metal Parking Lot crossed with the intent of the Maysles Brothers' Salesman, but filtered through a racist, contradictory, and oftentimes senseless working class America. Seventeen moves beyond the 80s novelties, hilariously quotable teens, and prior references into a solitary space which displaces us, repeatedly.

Aaron Rose is an artist, film director, curator and writer. From 1992-2002, he was the owner of Alleged Gallery in New York, which helped launch the careers of many of today's top contemporary artists. In 2003, he co-curated the museum exhibition and accompanying catalog, Beautiful Losers: Contemporary Art Street Culture that toured the world through 2009. Rose was also director of the feature documentary film Beautiful Losers, 2008 and numerous commercials, short films and movies for television. In 2011, he co-curated (with Roger Gastman and Jeffrey Deitch) the exhibition, Art In The Streets, which opened at Museum of Contemporary Art (MOCA), Los Angeles. Rose is also editor of ANP Quarterly, a quarterly arts magazine and his publishing imprint, Alleged Press releases monographs by contemporary artists.

Films will be screened Tuesday - Saturday, from 11am - 6pm. Screenings will be previewed with a short-form cinematic essay by Aaron Rose relating to the subject.

Young Projects is pleased to present Wake Me Up When It’s Over by the UK duo, Thomson Craighead, who have shown extensively at galleries, museums and film-festivals worldwide. The exhibition will feature nearly a dozen works spanning the years 1996-2016, thereby presenting an in-depth look into the couple’s practice and methodologies.

For the better part of the past two decades Jon Thomson and Alison Craighead have been “digging deep,” as curator Marc Garrett once described their practice, “into the algorithmic phenomena of our networked society; its conditions and protocols (architecture of the Internet) and the non-ending terror of the spectacle as a mediated life.”

In the process they've employed web cams, data feeds, networks, movies, images, sound and text in their many installations, videos and art-objects--often with a wide array of art-historical reference points, including 1960s systems art, 1970s structuralist film-making, and the compositional experiments of the literature group, Oulipo.

Of course, given their interest in the ever-shifting world of the digital, their work can also be as sardonic and menacing as our daily news feed might suggest. Terrorism, dystopia, the apocalypse, the loss of privacy, police states, political apathy, radioactive waste, fear mongering and the self-help industry are common targets for the artists. However, in each case, such works can also convey a wry sense-of-humor and a well-honed critical distance. Apocalypse 2016 for instance, (pictured above), which will be featured in Wake Me Up When It’s Over, is a professionally made perfume that captures the odor of the ‘end of times’ as described in the Book of Revelation. "[It's] the nasal equivalent of a subsonic frequency," wrote critic Nell Frizzell after his encounter with the scent. [It's] doom, in sprayable, wearable, purchasable form.”
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Moholy-Nagy: Future Present
at LACMA, Art of the Americas, Level 2
February 12, 2017–June 18, 2017http://www.lacma.org/art/exhibition/moh ... re-present" onclick="window.open(this.href);return false;

The first comprehensive retrospective of the work of László Moholy-Nagy (1895–1946) in the United States in nearly 50 years, this long overdue presentation reveals a utopian artist who believed that art could work hand-in-hand with technology for the betterment of humanity. Moholy-Nagy: Future Present examines the career of this pioneering painter, photographer, sculptor, and filmmaker as well as graphic, exhibition, and stage designer, who was also an influential teacher at the Bauhaus, a prolific writer, and later the founder of Chicago’s Institute of Design. The exhibition includes more than 250 works in all media from public and private collections across Europe and the United States, some of which have never before been shown publicly in the U.S. Also on display is a large-scale installation, the Room of the Present, a contemporary construction of an exhibition space originally conceived by Moholy-Nagy in 1930. Though never realized during his lifetime, the Room of the Present illustrates Moholy’s belief in the power of images and the various means by which to disseminate them—a highly relevant paradigm in today’s constantly shifting and evolving technological world.

This exhibition is included in General Admission.
Join now and see it free, or reserve a ticket.
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Chapters: Book Arts in Southern California
January 29 - May 7, 2017
at the Craft and Folk Art Museumhttp://www.cafam.org/exhibitions/" onclick="window.open(this.href);return false;

Chapters explores the significance of Southern California artists in establishing the field of book arts from the 1960s to present day. The exhibition highlights over 60 artists, presses, and organizations who explore ideas related to conceptualism, feminism, process, and community building through artists’ books, sculptural forms, small editions, and zines.

Presented in collaboration with Farhang Foundation, Focus Iran 2 is the second juried exhibition of contemporary photography and video works relating to Iranian culture or heritage. Featuring an international selection of emerging and mid-career artists, Focus Iran 2 democratizes the art form of image making by giving novices and professionals an equal opportunity to offer distinctive visions of contemporary Iran from both inside and outside the country. This juried exhibition provides a rare collection of perspectives from citizen journalists, personal archivists, and vernacular storytellers who are connected to Iran either by heritage or deeply felt admiration.

Special thanks to presenting donors Gramian-Emrani Foundation; lead donors Ali C. Anousheh Razi, Michael Katy Saei; major donors Shazad Parisma Ghanbari, Farhad Nushin Mohit, and Roshi Rahnama.
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Alternative Projections: Experimental Film in Los Angeles, 1945-1980
The book
A few years ago Los Angeles Filmforum collaborated with the Getty and USC to hold a symposium on avant-garde film in Los Angeles, 1945-80, and then organized a year-long screening series of the films consisting of 28 programs. Adam Hyman, Filmforum’s Executive Director, and Prof. David E. James of USC edited a volume containing a dozen important essays and other texts by the filmmakers and others who played a major role in this history, 15 scholarly essays based on the conference papers, and a complete list of all the films screened: virtually an annotated filmography of the LA a-g of the period. For more than three years, we had difficulty finding a publisher, but John Libbey of Libbey Publishing in London very generously took the project. We are delighted to say that the book has been published, and is being distributed through Indiana University Press in the United States.

Historical texts by:
Curtis Harrington, Robert Pike, Maya Deren, John Fles, Jack Hirschman, Kevin thomas, Gene Youngblood, Chick Strand, Peter Mays
It is available at Los Angeles museums and bookstores, as well as online. We will soon have some copies for sale at Filmforum screenings.

Please see:http://tinyurl.com/jvnzmr2" onclick="window.open(this.href);return false;http://tinyurl.com/ksvqsx9" onclick="window.open(this.href);return false;
It is a beautiful book, great essays, great illustrations, very good paper: an invaluable and unprecedented resource with which we are well pleased.
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ONGOING AT AUTOMATA: PEEPHOLE CINEMA
at Automata, 504 Chung King Court, Los Angeles, CA 90012
phone: 213-819-6855 http://www.automata-la.org/calendar.html" onclick="window.open(this.href);return false;
Visit PEEPHOLE CINEMA, a new permanent screening site at Automata, available for viewing 24 hours a day. Peephole Cinema, conceived and curated by Laurie O'Brien and Allison deFren, is located in the alley behind Automata, to the left of our back door, between North Hill Street and Chung King Road.http://www.peepholecinema.com/peephole- ... angeles-2/" onclick="window.open(this.href);return false;
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New works by Charlotte Pryce, Rick Bahto, and Steve Roden
Installation in the Visitors Center
The Huntington Library, Art Collections, and Botanical Gardens
San Marinohttp://tinyurl.com/ppcqnh9" onclick="window.open(this.href);return false;
The Huntington premieres three newly commissioned site-specific silent works by L.A.-area artists Charlotte Pryce, Rick Bahto, and Steve Roden.
We also brought in local artist Cosmo Segurson to head up a team to make a really cool history-of-the-place video that mixes animation, archival materials, and other good stuff. In an adjacent space is a sound installation by Texas-based artist Justin Boyd. It’s a permanent installation (or as permanent as museum things ever are).
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The Echo Park Film Center presents Marvelous Movie Mondays
Ongoing, online only!

Each Monday, the Echo Park Film Center Facebook page transforms into a little cyberlivingroom where you can watch a marvelous movie, read a lovely curatorial statement, make comments, be inspired to go out make your own things, and just plain enjoy the wonder that is cinema! A new guest curator spins flicks each month.
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MOCAtv – ART IS FOR YOU
MOCAtv presents new films, videos, profiles and interviews every month that explore contemporary art and its intersection with film. Recently debuted videos include:
Bruce Conner related films - http://www.youtube.com/watch?v=prf7dsuK ... VvfYLlhPPQ" onclick="window.open(this.href);return false; and more
Chris Burden - http://www.youtube.com/watch?v=s8QrrExMUvQ" onclick="window.open(this.href);return false;
Jonas Mekas - http://www.youtube.com/watch?v=JtIQCxypAFM" onclick="window.open(this.href);return false;
William Wegman - http://www.youtube.com/watch?v=u0JcnQ9UhjQ" onclick="window.open(this.href);return false;

MOCAtv is a new, online contemporary art video channel, and a digital extension of the education and exhibition program of The Museum of Contemporary Art, Los Angeles (MOCA). Subscribe to MOCAtv now at http://www.youtube.com/MOCATV" onclick="window.open(this.href);return false;
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This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and Bloomberg Philanthropies. We also depend on our members, ticket buyers, and individual donors.

The Egyptian is running a series called "82" blowup, 70mm blowup prints of films from 82. They've got a history with this year as they ran a series on pop films of 82 I think back in 2012, but it's a fun line up. Given the sudden and rabid cultic fetishism for film prints and 70mm by the kiddos hipstering around at the new beverly in the last few months, I half expect that film series of pop american such as this will become a regular and popular thing at both the egyptian and aero.

Also, although the July calendar is not yet out, they are already scheduling the Jean Pierre Melville at 100 series in August, it's pretty rare for them to publish any info more than a few weeks ahead of time, so I wonder if there's going to be a fairly big deal made out of this?

I really hope to see one of the Tavernier-introduced films at the Aero.

The '82 blowup series looks nice, but charging extra for faded prints of The Thing and The Road Warrior is ridiculous. The same print of the former screened in London a while back and pissed off a lot of patrons at the Prince Charles Theatre.

The New Beverly's tribute to Paul Newman's directorial output has been amazing. I'm incredibly excited to see the Michael Ballhaus-lensed, STILL unavailable on DVD anywhere in the world The Glass Menagerie. Inarguably the most faithful Tennessee Williams adaptation ever (it doesn't even have a screenplay credit), and I haven't watched it since seeing it on VHS in high school.

beamish13 wrote:The New Beverly's tribute to Paul Newman's directorial output has been amazing. I'm incredibly excited to see the Michael Ballhaus-lensed, STILL unavailable on DVD anywhere in the world The Glass Menagerie. Inarguably the most faithful Tennessee Williams adaptation ever (it doesn't even have a screenplay credit), and I haven't watched it since seeing it on VHS in high school.

This was much better than I anticipated, as reviews weren't so great back in the day. Karen Allen (and her scenes with James Naughton) were especially good. I also remember one fantastic (or rather a sequence of fantastic) close-up shots of Karen Allen. You'll see it when it happens, but it works beautifully - perhaps only Michael Ballhaus could have pulled it off for Newman, but even then, one wonders how carefully it was planned since the editing is very crucial in getting it to work.

Jake Perlin (now of Metrograph) brought back Sometimes a Great Notion when he was still programming with BAM - he might've had a big hand in getting that film re-discovered. I still have yet to see it, but it sounds very interesting, if only to see how Newman and Henry Fonda play off of each other.

The Paul Newman directed features at the New Beverly were revelatory. For all my obsessive cinephilia, I had no clue that Paul Newman directed a few features. His framing and love of attention to Joanne Woodward comes close to Gene Rowlands/John Cassavetes level of intimacy and love behind the camera. In all the films starring her, she absolutely steals the show, and not through scene chewing theatrics, but by giving such human, fragile performances that feels like she could potentially break at any second. I was also beyond impressed by The Glass Menagerie that handles the material with such tenderness and subdued performances, that it feels so far from the more verbose Tennesse Williams adaptations I've seen.

The New Beverly seems to have a lot of Michael Parks features this month, most I've never heard of and some that are out-right questionable *cough* Kevin Smith *cough*, along with some great midnight movie choices including the incredibly bizarre Xtro.

UCLA Film and Television Archive is ending their series of John Huston films next month. Went last week to see Under the Volcano (which I loved more than I remembered) and last night to see The Life and Times of Judge Roy Bean (which I loved, especially Stacey Keach as Bad Bob the albino) and The Mackintosh Man (the absolute worst Huston film I have seen, even giving Casino Royale a run for its money). They're playing some rare ones I have never seen including The Dead and Freud. Then they're starting their series, Shadow Cinema of the 1970s, including Prime Cut, Cisco Pike, Aloha, Bobby and Rose, a film I have been meaning to see for years.

I was sad to miss Los Angeles Film Forum's series on experimental films from 1967, but they'll be playing films by Joyce Wieland and a rare screening of Limite, recently released by Criterion.

The American Cinematheque is doing more 70mm stuff, including Wonder Woman, which was playing on 70mm in the San Fernando Valley for a while, but they're also doing Mario Bava films and most excitedly, a double feature of Hiroshi Teshigahara films. And a rare screening of Tobe Hooper's off-the-rails Lifeforce on 70mm.

Cinefamily is doing a rare run of Get Rollin', a very strange documentary of the New York roller disco scene from the 70s that I've actually seen. Features a great scene where a poolhall fight nearly breaks out among men in short-shorts and skates, a man who plays saxophone and skates at the same time with a custom painted van, and features some fun disco deep cuts. They're also doing a series on famous midnight movies, most are very famous but a few like Down and Dirty Duck, a super low-budget animated film with the voices of Flo and Eddie, and Targets with Mr. Ascot himself in person are highlights for me.

Also, the Universal City Walk theater is one of the few places playing Dunkirk on IMAX 70mm, something I have been meaning to see, but have been busy with other things.

So I'll be moving to Ventura County in a couple of months. Are there any regular screenings of old or international films in the area, between Ventura and Thousand Oaks? I know the Regal Cinema does screenings Wednesday nights, but they seem limited to "big classics" (Vertigo, Wizard of Oz, etc)

I'm not aware of regular screenings in the area, though I'm not that familiar with it. Your best bet for international movies might be the Laemmle in Encino due to the Middle Eastern presence there.

The Pacific Film Archive recently posted its film series for the fall, including some Brando, Akerman, Graham Greene, and James Baldwin-focuses series. I'm very excited for the 1947-1952 Chinese cinema series.

Maybe not the best thread to ask this in but they'll be showing some Buster Keaton matinees (General, Sherlock Jr., College) with Kino listed as the source. Are the 4K Cohen restorations not available for screenings?

Perkins Cobb wrote:Cinefamily leadership outed as a nest of creepers, per this post.

Not surprising. I've never cared for Hadrian Belove, and he always made me uncomfortable when he ran Cinefile Video (which I still regularly go to, as it's subsequently been sold twice since he went off to co-found the Cinefamily). This is horrific. I'm not sure if I could ever go there again, even if there was a significant change in management.

Belove and the accused board member quickly ousted. Some of the grodier details reported here and here.

“The feminists at Cinefamily, they’re like the ‘Roman Polanski to Sharon Tate’ feminists. They love a wild girl, a ’60s type girl, who will get naked and listen to them talk about film—the ingenue-type thing,” says Hayley Pogue, who worked at Cinefamily from 2013 to 2014 as an assistant to Munoz and says that because of her appearance as a “plus-sized brunette” Belove didn’t think she was worth talking to. “It was really hard to get eye contact or respect the whole time I worked there.”

“It’s like [Belove] made Cinefamily to try and make a cult where he could fuck every girl that came in,” Chacham says.